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“At a time when half-baked stories and ideas stream by us at the speed of bytes, The Georgia Review provides a cerebral sanctuary for writers who want to think and write, and readers who want to read and think.”
  
                                         —National Magazine Award 2008
                                           nomination for General Excellence

In our finely printed issues and on our website where you are encountering us now, we constantly strive to put before you the best contemporary thought, writing, and visual art we find. We invite you to sample our discoveries and keep up with our news online, but the only way to fully experience The Georgia Review is by getting a copy of our impeccably produced print journal into your hands. The thoughtful choices we make about writing, art, typography, and design come together in a beautiful physical object that captures some of the best of contemporary culture and is itself an artistic creation—tangible, vital, and lasting. If you’ll bring us into your home, office, or library, we believe you’ll agree with the legions of other subscribers who consider The Georgia Review a true “keeper.”

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Founded at the University of Georgia in 1947 and published there ever since, The Georgia Review has become one of America’s most highly regarded journals of arts and letters. Each quarterly issue offers a diverse, thoughtfully orchestrated gathering of short stories, general-interest essays, poems, reviews, and visual art.
The Georgia Review seeks a broad audience of intellectually open and curious readers—and strives to give those readers rich content that invites and sustains repeated attention and consideration. The physical journal is made to last, expertly printed on fine paper and perfect bound for durability and ease of shelving in one’s library, and the content is made to last as well: over the years, many subscribers have told us that The Georgia Review’s offerings prompt them not only to read every issue cover to cover but also to return to those issues and to share them with friends and colleagues.
Pulitzer Prize winners and never-before-published writers are equals during our manuscript evaluation process, whose goal is to identify and print stories, poems, and essays that promise to be, in the famous words of Ezra Pound, “news that stays news.” This means that the writings of such well-known figures as Rita Dove, Stephen Dunn, Philip Levine, Philip Schultz, and Natasha Trethewey (Pulitzer Prize winners all) join those of emerging writers like Todd Boss, Jennifer Culkin, Julia Elliott, Laura Sewell Matter, Anna Solomon, and Jacob White. The same egalitarian standard applies for our visual art portfolios, which may present the newest work from luminaries like Kara Walker, Joel-Peter Witkin, and Michael Kenna, or creations by talented newcomers such as Nora Sturges and Dean Monogenis.
The Georgia Review has twice taken a top prize in the annual National Magazine Awards competition, winning out over the likes of the Atlantic, Esquire, Foreign Policy, the New Yorker, Smithsonian, and Vanity Fair, and we’ve been finalists nineteen times in various categories—including General Excellence. In 1986 the Review won the National Magazine Award in Fiction for stories by Mary Hood, Lee K. Abbott, and Gary Gildner; in 2007 we won 1in the Essay category with Michael Donohue’s “Russell and Mary”—this author’s first publication anywhere.
In the twenty years since the launch of the annual GAMMA awards, currently sponsored by the Magazine Association of the Southeast, The Georgia Review has brought home dozens of gold, silver, and bronze prizes recognizing virtually every individual and overall aspect of the journal, from its written content to its design and artwork. Every year since 2007 the Review has taken the general excellence honor in its class.
All of the major “best of” anthologies regularly feature works from our pages, giving our authors the still-wider audiences they deserve, and literary agents and publishers read the Review in search of prospective clients and book manuscripts.
Still, no praise is more satisfying to us than that of readers and contributors such as these:

The Georgia Review is the only magazine I read from cover to cover. In other publications I usually find several things I really like; in The Georgia Review I love nearly everything.”
                                                                                                  —Fleda Brown

Your substantive issues seem to renew our traction with the world around us, while at the same time renewing that world’s mystery, its strangeness. This is deeply satisfying for me as a reader, and I can think of no other journal that accomplishes it so consistently.”
                                                                                                 —Jacob White

The art portfolios in each issue of The Georgia Review are as consistently engaging as the magazine’s essays. Neither fashion nor favoritism appears to play a role in their selection. The sole criterion seems to be striking evidence of an ability to visualize, which is often surprising. The emotional energy in these portfolios, their courtship of the wordless mystery of life alongside the essays, poems, and stories, is exhilarating.”
                                                                                                —Barry Lopez

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The Georgia Review’s founding editor, John Donald Wade (1947–1950), established the journal with a regional and agrarian focus—one that the publication gradually began to outgrow. The editors who followed Wade in the next two-plus decades—John Olin Eidson (1950–57), William Wallace Davidson (1957–68), James B. Colvert (1968–72), and Edward J. Krickel (1972–74)—increasingly concentrated on the quality of the writing rather than on the local interest of the subject matter or the mailing addresses of the authors.
All of this groundwork helped the Review’s sixth editor, John T. Irwin (1974–77), to give the journal a major push toward its present status (though not its present focus): Irwin, emphasizing literary criticism rather than primary works, and calling upon such major-league international players of the time as Harold Bloom and Jacques Derrida, cracked open the door to the room where The Georgia Review now resides.1
Stanley W. Lindberg, editor of The Georgia Review from 1977 until his death in 2000, effected the sea change that is still felt by the journal’s contributors, readers, and staff. He opted for essays of broad artistic and cultural concern rather than theoretical critical articles; he brought art portfolios into the regular mix of each issue; he upped the ante on active editorial involvement with accepted manuscripts; and he took special pleasure in “discovering” new talent. This last made the Review among the first to publish many writers whose careers subsequently blossomed—including Lee K. Abbott, T. C. Boyle, Judith Ortiz Cofer, Rita Dove, Mary Hood, Judith Kitchen, Judson Mitcham, and George Singleton. Lindberg was at the helm when in 1986 The Georgia Review was honored with its first National Magazine Award, and he conceived and helped to carry out the 1996 Cultural Olympiad program in Atlanta that brought together more living Nobel laureates of literature than—to this day—have ever been gathered in one place.
T. R. Hummer succeeded Lindberg and served as editor from 2001 to 2006. He led the staff in a major redesign of the magazine and the transition from letterpress to offset printing.
Stephen Corey, who joined the Review in 1983 as assistant editor, was promoted to associate editor in 1986, served several stints as acting editor between that year and 2006, and was named editor in 2008. Under his leadership the journal won its second National Magazine Award (2007) and received its first nomination ever for a General Excellence Award (2008).
The Georgia Review owes its success to the commitment and passion of these editors; to the other members, past and present, of its small but dedicated staff; to all of the talented writers who over the years have submitted their best work; and to the steady, generous support of the University of Georgia, which has long described the Review as one of the “crown jewels” of the institution.

The Georgia Review thrives in a no-man’s land between books and magazines, a place the Internet has yet to find and that television could never envision. The foundation for its eclectic compilations of poetry and essays, fiction and art, is not what has happened yesterday or today, or even predictions for tomorrow, but timelessness.”
                                                
                                         —Judges’ statement for the 2010 General Excellence
                                         GAMMA award, sponsored by the Magazine                                          Association of the Southeast















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